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Epsilon Uprising consists of Maleki on lead vocals and emcee duties, Machete on guitars and vocals, Professor X on auxiliary percussions, and G-Dub on drums. The band name originated from the 1930s novel Brand New World by Aldous Huxley. They credit Marilyn Manson, Nine Inch Nails, System of a Down, Canibus, Big Pun, and Hed P.E. of influencing the sound that flows from their fingers and voices. In early December, they lost their bassist, Doe, but continue to troop on playing shows. They have a steady following in the Virginia/DC/Maryland area that continues to grow on a daily basis based on numerous fan requests on the band’s Myspace page.

Seeing these guys live is truly an event that you have to witness to understand the magic and power they have. Venues such as Gil’s, The Half Shell, and Element Lounge have opened their doors and welcomed this magnificent energy to their stages. They have also played the notorious Norva, in Norfolk, Virginia as headliners. That alone is a feat that not many bands in this area can claim. From the moment that the set opener “Bring It All On Myself” kicks in, these guys demand the attention of the crowd, sparking mash pits and heave headbanging. With Machete’s crunching guitars to Maleki’s accelerated rhymes, Epsilon Uprising defines boundaries where have their own uniqueness is vital in the music business these days. Professor X and G-Dub bring percussion to a whole other level by complimenting each other with their performance. The band’s energy has the crowd always begging for more once the lights dim out.

Epsilon Uprising is currently in the process of recording an EP with an anticipated release date of Summer 2010. You can head over to the band’s Myspace page at http://www.myspace.com/epsilonuprisingto hear demos and catch up on upcoming shows. In addition, they are also booking shows. You can receive booking information by emailing epsilonuprising@gmail.com.

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After finishing third on the inaugural season of Nashville Star (behind winner Buddy Jewel and runner-up Travis Howard), Miranda landed a deal with Epic Records.  For most artists this would be the deal of a lifetime and the start of a booming career.  But for Miranda, she just wanted the chance to do things her way; a chance to prove that she could write her own music, select her own tracks, and still be successful in the process.  In the music industry, however, success is generally defined by two things: chart success and sales.

Right out of the gate though Miranda did not have much of either.  Sure her first album, Kerosene (2003) debuted at #1 on the Top Country Albums chart, but the lead single “Me and Charlie Talking” peaked at #27 on Billboard.  The follow-up “Bring Me Down” did even worse (#32) and it looked like the spark of Miranda’s career was dwindling.  Little did we know all she needed was a little kerosene?  Ignited by what has been deemed the “fire dance” on the 2005 Country Music Association (CMA) Awards, “Kerosene” lit the way for Miranda’s first Top 20 single, but “Kerosene” flamed out at #15.  Miranda’s fourth and final single from Kerosene was the catchy “New Strings” that enjoyed moderate success, peaking at #25.

In 2007, Miranda released her second major-label album Crazy Ex-Girlfriend, but the album’s lead single with the same name continued Miranda’s landslide.  The song barely reached the Country Top 50.  Miranda would not be deterred, however, and her persistence paid off when the follow up single “Famous in a Small Town” became her highest charting single to date, peaking at #14.  Her career was certainly on the rebound when Miranda won the Academy of Country Music’s (ACM) Top New Female Vocalist Award in late 2007.  Following the success of the third single, “Gunpowder and Lead” (#7), Miranda won Album of the Year at the 2008 ACM Awards.  Miranda netted her third straight Top 20 single when Crazy Ex-Girlfriend’s fourth single “More Like Her” made its way up to #17.  She was finally on her way.

For the third straight time, Miranda’s album (Revolution (2009)) debuted at #1 on the Top Country Albums chart.  Miranda’s successful singles streak was halted at three, however, when the lead single “Dead Flowers” fizzled out at #37.  In true Miranda fashion, she quickly found her step again when the second single “White Liar” became Miranda’s highest charting single, climbing all the way to #2.  “White Liar” actually became her first #1 when it reached the supreme status on the MediaBase Music Chart.

Throughout her career, Miranda has continuously found her footing when it looked like she was slipping too far to recover.  In a mostly male-dominated genre, and without the explosive popularity of female artists like Carrie Underwood, Taylor Swift, and Kellie Pickler, Miranda has had to fight for every position on the charts but has done so with the more patience, determination, and grace than most would probably expect in such a results-based industry.  Miranda is someone we all feel we can relate to because she seems just as blue collar as the rest of us.

Frequency Magazine: Welcome, Alex! As most people know, you were lead singer of The Calling. Now you’re on your own and approaching it in quite the business-savvy way! Can you tell us more about your partnership with Zorbitz and the Black Star bracelets?

Alex Band: Zorbitz and I got together and created this awesome line of rock n’ roll jewelry. We designed a line of 12 bracelets that each stand for something such as “luck” and “miracles” and each bracelet has a song off of my new album that ties in with what it stands for. So with each bracelet purchase you get a download of that specific song as well as headshots, ringtones, and video messages from me. The more bracelets you get the more of my album you will have as well as getting more bonus features. This is a way for me to pre-release my album and in a way that has never been done before. It’s really unique and you can check out clips of my songs and see the line at blackstarbracelet.com.

FM: You’ve also started your own label. With your first solo album, We’ve All Been There, coming out in stores this year, how does the so-called “indie” experience differ from major label music making?

AB: It differs in so many positive ways. I can call all the shots and make every decision along the way. Since I am the only artist on my label, I don’t have to worry about competing with others or being shelved or any creative arguments about my music. I truly can see every penny going in and out and know why and when it happens. None of this is possible with a major label.

FM: You’ve famously collaborated with Carlos Santana, Idol winner Kris Allen, and singer-songwriter Joanna Pacitti. Do you have any dream collabos or, since you’re hitting the road this year, dream tour mates?

AB: I love writing for and with other artists and I hope to be doing a lot more of it. Bono from u2 is definitely my idol, so writing or getting to open for him or even meet him would be a dream come true. I really hope to achieve that someday soon. For now I am traveling all over the country on my own doing radio station promo and some shows here and there. I’ll be starting full band shows in may when the album gets released and then I’ll head over to Europe.

FM: Speaking of American Idol, you’ve undoubtedly been in the contestants’ shoes at one time or another. What advice would you give to those getting started in the ever-changing music industry?

AB: I would say to stay true to yourself first and foremost and to try and do everything you can on your own. Get people to back you and invest in you and your music and do everything you can to stay away from labels. It may not always be easy, and I am proof of that but it is so worth it to be able to control your career and the music you work so hard to create.

FM: Final question (and it’s always a fun one)! You’re quite the Ferrari fan, it seems. Would you ever consider having your own “Ferrari Garage,” Jay Leno style? ;)

AB: Haha, I wouldn’t know what to do with all of those cars. I love to take mine everywhere and some think I am crazy for using it as my daily car… But sure, who wouldn’t want a garage full of amazing cars that you can choose from?! I’d probably donate a whole lot to charity before I ever indulged in something that ridiculous.

FM: Thanks again, Alex, for taking the time to chat with us! Best of luck with the new album!

For more Alex Band info, check out http://www.alexband.net.

March 9
Gary Allan — Get Off On The Pain
Ludacris — Battle of the Sexes
Redman — Reggie Noble 9 1/2

March 16
The White Stripes — Under Great White Northern Lights

March 23
Monica — Still Standing
Justin Bieber — My World 2.0

March 30
Alan Jackson — Freight Train
Gretchen Wilson — I Got Your Country Right Here
Erykah Badu — New Amerykah Part Two: Return of the Ankh
Barenaked Ladies — All In Good Time
Usher — Raymond v. Raymond

Rae is certainly no stranger to loss, losing husband and bandmate Jason Rae in early 2008. The Sea, she admits, owes much of its melody to his passing. That melancholy heavily resonates on the opener, “Are You Here” and lead single, “I’d Do It All Again,” where Rae reveals, “You’re searching for something I know won’t make you happy.”

It’s this thinly-veiled reference that stitches each song together. Whether with soul (“Closer”), hope (“I Would Like to Call It Beauty”), or heart (“Diving for Hearts”), the British songstress builds a largely successful—albeit unfortunate—story. Rae temporarily stumbles, her vocals getting lost amid the frenzied, back-and-forth, continent-crossing “Paris Nights/New York Mornings,” but regains her footing on the farewell-filled title track, “The Sea.”

The Sea is out now on Capitol Records.

[starreview]

The opening track, “Claim Somebody,” while perfectly acceptable, recalling earlier offerings from Rooney and Phantom Planet, doesn’t fully represent the band’s potential. It is the next song, “The Limbo of Sasha Ipei,” a frenetic whirling dervish of raw guitar riff, brass and bass thudding a three note repetition and harmonising vocals that really shows off The Ugly Club and everything for which it stands. This creates a sound not unlike the Arctic Monkeys jamming with the Mark Ronson team without losing the raw production values that curiously only heightens the charm.

“Step To Me” starts off with a brass-led swing that could just have easily led into a cabaret. Instead, we are treated to a soulful rock song that sounds somewhat like Aerosmith on a lazy sticky afternoon. The trumpet solo at the 2-minute mark especially draws the charm of the indie blues sound together in a musical throwback coaxed into the contemporary band’s style. “Follow the Sound” swings along, making full use of each of The Ugly Club’s components almost in turn to make an optimistic, if slightly confused, ballad. The most traditionally indie track on the EP is the final, “Song From a Paterson Apartment,” which almost sounds like it was written in the late 1990s until a little before the five-minute mark when the synthed strings makes it sound a tad sloppy right at the finish line.

This is a shame as in all Sing What You Want is a wonderful EP, showcasing the handful of styles that The Ugly Club juggles, while flitting between them with accomplished ease and despite the eclectic nature of their sounds never sounding forced. The introduction of the trumpet and trombone to this indie band that could otherwise have fit in anywhere in the past decades creates a unique combination in an age that threatened to be saturated with similar sounding rock bands. It is this rare quality that makes me believe that with a little bit of tightening up and a label signing, The Ugly Club will only get sharper, better, and more insanely catchy.

The Sing What You Want EP is available on iTunes now.

[starreview]

February 9
Josh Turner – Haywire
Fear Factory – Mechanize
Redman – Reggie Noble 9 1/2
Sade – Soldier of Love
Watson Twins – Love You, Love Me
Young Jeezy – Thug Motivation 103
Jaheim – Another Round

February 23
Josh Thompson – Way Out Here
Sarah Buxton – Sarah Buxton
Joanna Newsom - Have One On Me
Johnny Cash – American VI: Ain’t No Grave

Times are troubled, times are confused
Wills are broken by minds misused
Man wants and man takes
Humans love and humans break

Sadly, however, “Zoe” is where the album peaks.  Whereas the melodies differ from track to track, not once does Grace Under Water feel like it changes pace.  Generally, albums are filled with ups and downs, highs and lows, uptempo and slow songs alike.  Sometimes, an album will even maintain a general tone throughout, such as coming in and going out with a bang while maintaining the adrenaline the entire time.  A few albums even explore the opposite end of the spectrum with track after track of sad, slow, heartbreaking lyrics and melodies.  Grace Under Water attempts to find its home safely in the middle – a very bad idea.

The lyrics of Grace Under Water are even more uninspired than the melodies, and they do not seem to hold the attention of the listener.  Generally, I give credit to an artist for compiling an album that inspires an emotional response, be it happiness, anger, sadness, etc, regardless of how attractive the lyrics and melodies are.  Grace Under Water, however, inspires no such response of any kind.  With cuts named “Highly Flammable,” “Rusted Jesus,” and “The Craving,” I assumed I would be getting some very interesting, creative lyrics.  I could not have been more wrong.  Music is a business of sales and I do not buy what Paul Dougherty is trying to sell me.

In all honesty, it may sound harsh, but this album needs to be under water, because if I ever find it in my home, I may test just how highly flammable it really is.

[starreview]

Frequency Magazine: You said of your 2007 album, Under the Influence, “The album would come to define everything I did not want to be and was one of the biggest lessons of my life…BE TRUE TO MYSELF.”  How is your new EP, You For Me, a better representation of the true Terra Naomi?

Terra Naomi: Well, You For Me was co-produced by myself and two of my friends. It is very organic and natural. Yes, there are other instruments, but it’s still pretty raw as far as a produced album goes. I think it’s the perfect bridge between my acoustic recordings and my upcoming studio album.

FM: Being familiar with different versions of several of the songs on Under the Influence, it is hard for me to believe that you had hardly any input on what was happening to those tracks in the studio (especially “Jenny” and “Say It’s Possible”).  Can you explain what happened during the production process of that album regarding the manipulation of the songs and/or you that ultimately led to a result with which you are so disappointed?

Naomi: It was more of something that happened before we went into the studio. I wanted to make an album that was similar in feel and tone to my videos on YouTube. I wanted to get a few great musicians together in a room, mic everything, and record the album that way – organic, raw, natural. The people I was working with convinced me that this was not the right approach, and my belief in myself and my own instincts was not strong enough at that time. It can be really hard when you are a new artist and you are trying to figure out the best way to go…you listen to the people around you. Happiness and success require an extremely clear understanding of yourself as an artist and as a human, which I admittedly did not have, and I ended up really disappointed. I did not trust my instincts and I allowed other people to tell me what to do creatively, and I regret that to this day.

FM: You are in the unique position to give insight on the music industry from the perspective of an insider but with the freedom of someone not currently signed to a label.  Could you offer a critical assessment of what goes on behind closed doors in the music industry?

Naomi: Haha – well, yes, I could, but I do not want to bite the hand that feeds me, so to speak. I have had a unique opportunity to experience many different aspects of this business. I can say that most of the cliches are true – the rollercoaster – the ups and downs – feeling like everyone’s priority one day and the next day not being called back…it’s a rough ride, really, and I understand why so many artists go through the major label experience and then drop out entirely, at least for a while. It’s painful. The expectations are high, on every side.

I think the important thing is to realize what a major label can and can’t do. It’s a business model, a marketing plan, a promotional vehicle, a bank…the people who work there are part of the machine, but it’s not quite that simple, because most of them, at least at some point in their lives, truly loved music…so you try to find those people who still do, and then you remain detached because within that system an artist is still just a product. It’s not evil or bad or cruel – it’s just business. Tough to mix business with art. There are many casualties. You try to keep your head in the creative process and keep creating no matter what – whether things seem to be going great or not so great – because creating is the only thing artists actually have complete control over. The thing is, labels provide the kind of backing and infrastructure that is still really important at this time. Yes, you can reach people independently with the internet – but there are so many people trying to do that now, and without financial backing it’s pretty difficult. So finding a way to exist comfortably within the system is my current focus.

FM: You and others have proven that the internet can be used as a marketing tool effectively enough to maintain a career as a musician without giving in to the every demand of a big label.  How do you think the music industry will react to this threat?

Naomi: At the present time, I do not think the Internet is a threat to the business. It is a threat to album sales, yes, but the labels are coming up with other ways to profit from the artists they develop. Yes, the industry is changing, and for artists who are already well-known, the internet is a great way to maintain and continue to develop an existing fan base. It can also be effective as a marketing tool for people who have a lot of money to invest in marketing and PR. I think it has actually become harder to launch a career online independently. There are so many more people trying to do it now, and sorting through the hundreds of thousands of bands is kind of tough. I think it was easier a few years ago.

As far as how the industry is reacting, I think labels are doing a great job. They are a bit behind and have had to catch up, but they have smart people figuring out how to use all these websites to launch their artists now. And they have the money to back it up. It’s only a threat if they refuse to embrace it. That might have happened early on, but I think everyone in the industry is totally aware of the need to change the model and find ways to use the internet as the incredible promotional tool that it is. I’ve seen fantastic online campaigns coming from the major labels now.

FM: You and Ingrid Michaelson have had considerable success without being signed to a record label.  Regina Spektor waited until she had already released four albums before she signed with a major label because she demanded (and ultimately received) complete creative control.  You are all also very outspoken about the realities and risks of signing a contract with a label. How much do you think popular artists such as yourselves will affect the mindsets of up-and-coming artists who want to be career musicians?

Naomi: I don’t really know the effect I will have – the point I always try to get across is that artists need to know who they are, what they want, make sure they are creating the very best music they are capable of creating, and educate themselves so they have a very clear understanding of what this industry is and is not. It’s not really about my path or Ingrid Michaelson’s path, or Regina Spektor’s – we are three entirely different artists with entirely different stories. It happens differently for every artist, and the successful ones are those who know themselves and know what is best for themselves individually. You can’t look at one aspect of someone’s career and say “I want that, so I will do what that person did” because it won’t happen in the same way. For some artists, signing with a major label right away might be the best thing – it all depends on the kind of artist you are and what you want from your career. Complete creative control might be the best thing for Regina Spektor, but probably not so much for Miley Cyrus, you know? It all depends on the artist. The thing I hope I can inspire in other artists is to be true to their art and really listen to their instincts as far as which decisions to make on this path. Know themselves, deeply and honestly. It is so easy to be swayed, especially when we are dealing with a business built on dreams.